landscape psychology
landscape psychology This pamphlet, Landscape Psychology, aims to explore the relationship between people and the landscape. It is organized in three sections to explore those different topics - home, nostalgia, and narrative. Home is an idea that everybody yearns for. In the formal, most common way, it is the place where one lives with their family. In another, it may be a house with friends or a different place such as a school or a church. On a larger sense, it can be someone’s hometown or home country that they miss when they are somewhere else. This pamphlet explores how the landscape can build these connections and create new homes. Next is nostalgia. Nostalgia, as previously stated, is a very strong human emotion. Using nostalgia in environmental design will impact people and give them a stronger connection to the landscape. Lastly, narrative tells the story of the landscape, the trick is making sure the narrative is clear for the visitors. Overall, Landscape Psychology looks at landscape architecture as the stage for human interaction.
10
40
44 8
22 4
26
Mobility as a Force
Landscape and Common Culture
Dia de los Muertos
Landscape Nostalgia
Between Two Worlds
Improvement without Gentrification
Urban Connectors
Table of contents
home
urban connectors David Gouverneur & Oscar Grauer The idea of home can mean a variety of things. In the formal, most common way, it is the place where one lives with his or her family. In another, it may be a house with friends or a different building such as a school or a church. In a larger sense, it can be someone’s hometown or home country that they miss when they are somewhere else. Regardless of location, the idea of home is commonly associated with comfort and safety, a place that acts as a sanctuary from the rest of the world. Gouverneur and Grauer’s “Urban Connectors” addresses the idea of formal and informal settlements, and how to integrate them together. Formal settlements are the traditional settlements seen in urban society – suburbs, apartment complexes, hotel residents. Contrastingly, informal settlements are usually seen as slums, but the connotation of the word is misleading. Slums today are becoming increasingly “formal” in their own way, constantly “growing, ever-changing, [and becoming] morphologically distinct areas” (24). By definition of UN-Habitat, a “’slum household’ is a group living in an urban area that lacks one or more of: durable housing, sufficient living area, access to clean water or sanitation, and secure tenure” (24). Defining these two different spaces is not the issue; the issue occurs when society values formal settlements over informal and want to eradicate the informal. It should instead build connections between the two in order to enhance both settlements in their own ways. There are many factors outside these communities that affect them. Some are completely indiscriminatory, while politics sits on the opposite side of the spectrum. Nature and urbanization are the first two factors that affect these spaces in a general way. First, nature affects a settlement regardless of formality or informality. Hurricanes, floods, and earthquakes hit both settlements;
however, informal settlements are affected a bit more because they usually sit where these disasters occur. Additionally, urbanization in third world countries progresses differently than the developed world. Urbanization grows linearly; however, in the developing world, it happens all at once, which makes it difficult to adapt to the people’s needs. Politics, on the other hand, usually reinforce this hierarchy of formal over informal, depending on the type of government. Gouverneur and Grauer emphasize that “the more centralized the government is, the less effectively it builds housing and improves slums, and the more effectively it promotes corruption. [However,] the more decentralized – closer to the communitydecision processes – a government is, the more efficient, successful, and uncorrupt it is” (26). Politics, economy, and legal action all influence the amount of work actually put into improving slums and connecting the two spaces to build a better community. Gouverneur and Grauer found that public spaces are the unifier to bring these two settlements together. They mention, “it is surprising that in benign climates cultures rich in civic interactions, manifested in fiestas, street fairs, carnivals, religious celebrations, and political rallies, have neglected the creation of good public spaces” (29). These good public spaces give people the opportunity to build community with each other. They create gathering spaces, celebration spaces, procession spaces to meet, cheer, and come together for a cause. For the informal settlements, these spaces provide a place to improve in areas that are lacking in their communities. On the other hand, the formal settlement obtains a new understanding of the informal, which brings the two closer together. Landscape architecture becomes the bridge between these communities to foster growth and understanding.
tio
nec
con
m n fro
al
form
gathering spaces
to informal
celebration spaces
processional spaces
lack of durable housing
lack of sufficient l iving space
lack of access to clean water
while lower income communities use the street
typically, higher income communities use inside, private space for gathering
how do you design for improvement without gentrification Steve Cancian
When improving urban, low-income areas, a possible consequence to consider is gentrification. If a place becomes too nice, the lower income community will eventually be pushed out for higher-paying citizen. However, one can easily see that these spaces are in need of improvement to create stronger, safer community spaces. Cancian talks about enhancing the environment without gentrification. While moving through urban areas throughout the United States, race becomes an evaluating factor when it comes to properties or neighborhoods. Using Cancian’s example of Boyle Heights, people see these beautiful, Victorian houses; but when they see African-Americans or Latino-Americans hanging out outside, the property value drops because of their race. The neighborhood is transformed from beautiful to poor and dangerous based on the color of the people living there. In spite of that, it is actually that color, that culture, that brings life into these communities. When designing for these neighborhoods, the key is to avoid making “universal” improvements and instead make developments specific to the people living there. For example, do not create rows of trees on the sidewalk simply for beautification. Instead, only plant trees where they will be directly in use and connected to the community. Cancian’s main rule is to increase use value, not exchange value. Again in Boyle Heights, he notices that the main place for families to hang out is the front porch. Therefore, using recycled materials, he builds “front porches” on the sidewalks for people to sit or hang out around. Many of the recycled material are painted with colors and symbols representative of the community. The idea is not only to provide these new communal spaces, but also to bring the community out into the streets so that outsiders can really see who is there. Lastly, community involvement is a big element to these improvements. The community is not only there to tell designers what they need, but also to help and make these spaces more personal.
between two worlds Museum of International Folk Art Immigrants face many issues when moving from one home to another. There is a loss of cultural identity and belonging within both the new country they face and the home country they leave behind. They become stuck in this middle ground where they do not connect to either culture or homeland. The exhibit in the Museum of International Folk Art in Santa Fe, NM addresses this issue and allows immigrants and others to share their experiences. “Between Two Worlds” is a powerful exhibit that helps visitors understand this feeling of loss, while immigrants get the chance to share their stories. Walking through the exhibit, the interactive pieces really drive the people inside. The first wall is a magnetized wall full of words associated with immigration, both positive and negative. “Home”, “opportunity”, “tradition”, “immigrant”, and “outsider” are some of the words visitors can rearrange and to create poems about immigration. Community members feel the impact when many positive words such as “welcome” and belonging” are preceded by “not.” Landscape architecture can, again, act as this bridge between communities. Similar to the “Urban Connectors” article highlighting the use of landscape to connect formal and informal communities, designed public spaces can be used to connect different cultures. However, much like Steve Cancian says, the design needs to be specific so that the colorful culture of these groups is not lost.
Ar.chi.tec. ton. ic \,är-k -,tek-’tä-nik\ adj. e
of, relating to, or according with the principles of architecture Landscape architecture works with architecture to create complete environments and not one object on top of another. Studying principles of architecture will not only help to understand architecture, but also principles from architecture can be applied to the landscape creating a more cohesive design.
google images
di.chot.o_.my \d-i-’kä-t -me also d -\ n. e
e
a division or contrast between two things that are or are represented as being opposed or entirely different In landscape architecture, dichotomies work with each other by highlight the differences between them. This strong contrast draws attention to both objects and forces the viewer to compare and contrast them. On the Bund in Shanghai, the modern architecture across the river, and the colonial architecture adjacent to the street create a dichotomy that makes the landscape enjoyable to walk down.
Pro.lif. er. a. tion \pr -,li-f -’ra-sh n\ n. e
_ e
e
rapid increase in numbers Although it usually refers to biology and cells, proliferation is occurring in the urban environment today. The world population is continually increasing, and knowing so, one must prepare to design for the density. With a rapid increase in numbers, the amount of open space may be taken up, which is why landscape architecture should fight even harder to teach the importance of the space.
google images
nostalgia
Landscape Nostalgia Raffaella Fabiani Giannetto Nostalgia is powerful human emotion. A majority of the time, it is a positive emotion that creates cheerful feelings in people. People think back to the “good times” of the past that keep them pushing to make more memories of the same kind. However, there is also a negative side to nostalgia. People hang onto these sentimental objects, places, or relationships without judging whether or not it is better to let them go. Sometimes, clinging onto the past prevents people from moving forward. The same holds true in the thought of landscape architecture. Throughout history, landscape was designed by constantly looking towards the history of garden making. It was not until Modernism that this idea was thought of as “crippling.” Another shift happened again during the twentieth century when designers felt history did not have to be a burden but they could instead use it “[to formulate] new answers for centuries-old questions, or show a greater sensitivity toward a site’s past histories and traces of previous use” (104). Giannetto mentions the main way to use nostalgia when designing landscapes is using history to define the identity of a place. For example, the place where the Twin Towers once stood in New York City holds a strong remembrance for many people - a feeling so strong that a memorial was constructed in its honor based on the original identity of the space. This transition of embracing history, ignoring it, then embracing again was integral in American history because landscape architects had all of
the “Old World” to look back on. They argued over which Old World style would best identify the new Americans ideals. From geometric to natural to picturesque, the idea of what garden style would best represent American ideals continued to move back and forth with no end. It was then a matter if a national style was absolutely necessary. Nevertheless, the use of nostalgia continued in landscape design. For example, in the Garden of Forgiveness in Beirut, Lebanon, designers Gustafson and Porter took the original remains of the building and transformed them into garden rooms. Additionally, they introduced a water pool at the entrance to mimic the old Persian civilization. In the larger picture, by highlighting the old societies that worked together, Gustafson and Porter made a statement that civilizations “coexisted peacefully on the same soil [to] bring about a sense of hope for the future of the warstricken site“ (108). Similarly, in their project for the Venice Biennale, they used nostalgia to look to the past, but move towards the future. White sheets over a grassy field nodded to the lost vegetation while the sheets encouraged thoughts of the afterlife. While too much nostalgia can hinder progress, the right amount can move people to experience strong connections with the landscape. Instead of using history as rules to follow, designers can look to history build new techniques off of the original standards. Furthermore, history lends to the identity of a place and, when taken the right way, can create connections with people on an emotional level.
The events of Septemb er 11 create a strong history of the place
Gustafson and Porter use the existing conditions to design
Dia de los Muertos Hollywood Forever Cemetery The Dia de los Muertos celebration at the Hollywood Forever Cemetery is a great example of human nostalgia and how it can dictate the landscape program. This event is held every year, where thousands of people flock to Hollywood Forever to enjoy the altars, watch concerts, engage in the arts, and eat and drink all in celebration of the dead. Traditionally, Dia de los Muertos is a Mexican tradition that honors those who have passed away by visiting their graves, building altars, giving ofrendas, and commemorating their loved ones. It is the day where the living and the dead can be together; it is meant to be a happy ritual and celebration, not a mournful day. However, the event at Hollywood Forever, while originating from the ritual, has become very commercialized for the Los Angeles community. Some of the altars stay true to honoring their loved ones. However many have become entertainment for the visitors. Instead of the traditional clothing, people walk around in random costumes, treating the event as a “Mexican Halloween.� There is some good that comes out of this commercialization. Numerous people take the opportunity to build altars to bring awareness to social issues. Issues that many people face, such as lack of health care or gang violence, are brought to light through these altars and act as ofrendas to the victims. Again, it is nostalgia and remembrance of the past that drives this event. People take these feelings to create this event, and in the same way, landscape architects can take these emotions to build connections between people and the landscape.
. . Chau vin ism _ \’sho-v -,ni-z m\ n. e
e
the belief that your country, race, etc., is better than any other Chauvinism not only hinders landscape design, but society as a whole. It is because of this type of thinking that many people are looked down upon, and therefore, treated as if they are lower than others. In terms of landscape architecture, designers can use public gathering space to create places for these people and strengthen their communities.
google images
in illo tempore refers to the “Good Old Days,” literal latin translation is “in that time,” a time that is nostalgic and commonly refers to a present past culture or time period Many people, especially the older generations, see the past as the “golden times.” According to them, everything was better before and they are fighting to keep it that way. Landscape architects need to find the balance between respecting the past, but progressing towards the future.
google images
ves. tige \’ves-tij\ n. a mark, trace, or visible evidence of something that is no longer present or in existence When coming upon vestige in the landscape, it is up to the designer to attempt to preserve it, or let it whither away forever. Too many people try to hang onto the past, whether or not it is the best option. Again, it is the job of landscape architects to honor the past without letting it keep from moving forward.
google images
vis . cer. al \’vi-s -r l, ‘vis-r l\ adj. e
e e
coming from strong emotions and not from logic or reason Nostalgia is usually a strong emotion for mankind. People like to hang onto the past and doing so usually blocks their judgement. Landscape architects must not let strong emotions cloud their reason. That does not mean completely ignore the emotions, however it does mean to pay attention at what is driving the projects.
google images
culture
open landscape
boxed in architecture
Landscape and Common Culture Since Modernism Martha Schwartz Common culture today is moving towards urbanism. More and more cities are being built up, and more and more people are moving from rural and suburban areas into dense urban areas. This brings up an issue for landscape architecture which is the struggle to design for people in high densities. And with that issue, a large amount of structure arises. Against the structure of the urban city, landscape comes second to architecture. It seems unreasonable to give away urban space to open landscape because of the high land value. However, landscape brings an element that architecture cannot achieve – public space – and with that, enhances the culture of the city. Landscape architecture needs to move out of the background and transform into the tool for creating cultural spaces for the people. Architectural Modernism has been an obstruction to landscape architecture. It views landscape as the blank canvas to place a building. In the Modernists’ eyes, there cannot be too much going on in the landscape, or else it will take away from the building. According to Schwartz, Architectural Modernism believes, “the landscape should function environmentally and socially, but not intellectually or aesthetically” (261). They do not view landscape as its own designed space, but instead treat it as the leftover space from the buildings. Because of this view, it is assumed architectural modernists do not believe in truly public space, but instead attempt to be allinclusive within the buildings. This ideal is not effective because in reality, common culture lies in the landscape. By ignoring the landscape, one is ignoring the people’s right to public space. Landscape is the connection to the people. As previously stated, landscape acts as the home for any people – whether formal or informal. This idea
of home ties very strongly with those to associate with it. In the same way, nostalgia is used in the landscape to create spaces for the people. Even the urban landscape elements – concrete, asphalt, plastic – are available for the common people. No elaborate materials or materials that would be unattainable to the common man are being used. The idea of public space, common culture, and landscape architecture all tie in with one another and when properly executed, become the more important spaces in urban design. Schwartz argues that the best way of bringing landscape into the foreground is to design landscape as architectural space. She believes that instead of focusing on the picturesque, which causes people to feel disorientated, designers should focus on the geometric to make the space more recognizable to people. She says, “Geometry allows us to recognize and place ourselves in space and is more formally sympathetic to architecture. Lastly, it deals with our manufactured environments more honestly; geometry itself is a rational construct and thereby avoids the issue of trying to mask our man-made environments with a thin veneer of naturalism” (263). The way to towards this ideal is changing how the people think today. Some societies are stuck in this idea of architecture as the object and landscape as the background. It is not until those societies get a truly public space that they realize what they were missing. Changing common culture and teaching the value of landscape will drive society towards a public culture.
From picturesque
c
etri
eom
to g
health
community
active
Mobility As a Force for Health, Wealth and Happiness Gil Penalosa Change – it is a difficult thing to do. Whether you’re trying to change one or 1,000 minds, it takes a strong effort to do so. Change is “not in our culture” and changing environments, while doing so for the right reasons, can come back with extreme backlash. That is why one starts by changing common culture - transforming and shifting the way people live their lives to help them reach for better, healthier, more active livelihoods. Penalosa began speaking about a city he worked very closely with – Copenhagen. Originally, Copenhagen was a town where everyone quickly got from one place to another in order to stay inside. People avoided hanging out outside because of the weather, and the idea of biking was completely foreign to them. However, after a lot of backlash from the community, Penalosa worked to change the culture of Copenhagen and today, people are biking everywhere despite the harsh weather. Streets are the largest public spaces in urban cities. When these streets are opened to pedestrians, like during ciclavia, they become the largest pop-up parks. Penalosa argues that when streets are opened up, not only does it improve a city’s culture, but it also promotes citizens’ health, an active lifestyle, and community engagement. Transforming streets into public space may seem impossible, but it has been done in major places such as Times Square in New York City and cicLAvia here in LA. By encouraging this shift, the common culture, and more so the importance of landscape and public space, begins to change.
. . . . egal i tar i an ism _ \-e- -,ni-z m\ n. e
e
a belief in human equality especially with respect to social, political, and economic affairs While many people in today’s society believe in an equality for all, there are still many out there who are strongly opposed. There are different levels of applying this belief to landscape design. On a small scale, it means making sure everything is ADA accessible. On a larger scale, it means creating temporary housing for Syrian refugees. It is up to the designer on how they approach it.
google images
Os. ten. si. ble \ä-’sten(t)-s -b l, -\ adj. e e e
seeming or said to be true or real but very possibly not true or real While this idea overall is negative, it could be used positively in design. Creating stories to draw people into built environments is a technique used many times. For example, the floating staircase in the church in Santa Fe, New Mexico, is not in fact floating. However the story of its appearance draws many people in.
google images
Ubiq.ui.tous \yß-’bi-kw -t s\ adj. e e
existing or being everywhere at the same time, constantly encountered Using ubiquitous elements in the landscape can work in opposite ways. First, they can act as landmarks, which would help visitors orient themselves. Oppositely, if used too much, they can confuse the visitors.
google images
julianne pineda California State Polytechnic University, Pomona Department of Landscape Architecture Be Bravely Curious